Tag Archives: relationships

Homecoming

napoleon_elbaThat evening, I turn on the water in my shower, but the pressure is low because my sister is taking a shower in her bathroom and my mother is taking a shower in hers. I turn off the water and wait. This is what life would have been like if I had stayed, I think: less convenient, perhaps, but more connected to the people I love.

* From Mohsin Hamid’s ‘The Pathos of Exile’
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Do You Feel Me? Social Creativity & ‘Virtual’ Mirror Neurons

Two questions important to the evolution of social creativity.

1)  What makes real-life interactions so compelling?

ConversationDaniel Goleman (Author of Emotional Intelligence): “During a conversation, mirror neurons in our brain replicate what’s going on in the other’s brain. When having a moment of real rapport- our physiology’s (heart rate, BPs, etc) connect. It’s almost like two birds dancing together.”

When this happens, there’s no need to ponder, reflect, worry about   offending someone, the conversation just ‘flows’. Creativity and joy multiply.

2) Can this neurological calibration happen even when two people are only connected  online?

That’s our job to find out, but what’s clear is that enriching the online experience by providing the right platforms, tools, and license to go wild IS transforming what’s being created.

Synesthesia

somaSynesthesia is a fascinating condition in which inputs to one sensory pathway - such as music or shapes - produce sensations in a different sensory modality. As technology used in social media evolves, it might just become possible to achieve a temporary synesthesia. Through purely an online interaction, there might come about a way to gauge tone, excitement, etc, similar to the way we do in face-to-face communication. This would mean the birth of ‘virtual mirror neurons’, and enable a virtual connection between people that is as rich as a real one.

matrix1 Probability and timeframe? Slim & distant. Implications for creativity? Infinite & thrilling.

West Beirut

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Direction and Screenplay: Ziad Doueiri

Cast: Rami Doueiri, Mohamad Chamas, Rola Al Amin, Carmen Lebbos, Joseph Bou-Nassar, Liliane Nemri, Leila Karam, Mahmoud Mabsout

Language: Arabic, with English subtitles

*Warning: May contain spoilers, although I’ve attempted to make them cryptic

Synopsis (Courtesy of Rotten Tomatoes)

It is Beirut, 1975. Tarek, Omar, and May are teenagers roaming the streets, listening to pop music and making super 8 films. School has been closed, and the city has been split into the Christian-controlled East Beirut and the Muslim militia-controlled West Beirut, where the teens live. They are forced to grow up faster in ways they had not expected as violence seizes the city and their worlds become smaller as parts of their familiar surroundings are suddenly declared “off-limits.”

***

O: “May, tell me, what do you think of Beirut?”

M: “Crazy”

O: “Very Crazy”

10 years after its release, West Beirut remains the freshest and most poignant war film that I’ve seen. Gripping performances combine with fluid camerawork and stirring music to create a very real experience; yet somehow the movie is nothing short of magical. Never has a movie better characterized the Arab mindset and sense of humor; through all the madness of war the protagonists do not lose their mischief, their joie de vivre, or their belief in Beirut.

Doueiri borrows from his personal experiences during the Lebanese Civil War to showcase the teenage Tarek’s emotional metamorphosis as the war draws on; from exuberance about freedom from school to the angst-ridden delights of first love to an all-encompassing sense of grief for the destruction of his city. Doueiri’s love for Beirut resonates throughout; in the opening sequence Tarek  drowns out the French national anthem by singing the Lebanese one through a megaphone to his adoring classmates. Simple visuals such as the bike ride to Zeytuni are stunning; I felt a rush of emotion and nostalgia as Tarek, Omar and May sped across Beirut’s boulevards to develop Omar’s Super-8 film. If this scene was so powerful to a non-Lebanese such as me, I can only enviously imagine what it would mean to a paisan.

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Colorful characters abound throughout, adding the belly-laughter and roguery essential to keep a war movie honest. Two women in particular deserve special mention. The first, the old harridan who hides her pain and disappointment at being shunned by her husband by being the nightmare of the neighbourhood; she churns out some of the most creative abuses I have ever heard (“Meet your maker and perfume your mouth before you talk about the South”). Arabic speakers will be thrilled- God, hellfire, mothers, sisters and carnage are invoked in equal measure. Umm Walid, the madam of the brothel is the other, loud-mouthed and arrogant, with a huge frame and a heart to match. She proclaims that her brothel is the only place where the divisions brought about by the war matter not ( At Umm Walid’s, it is Beirut, period!). Sadly, time will prove her wrong.

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Technical finesse and theatricality aside, West Beirut is primarily about relationships. Ziad, the husband, whose love of the land overrides his rationality, has to deal with his beautiful wife Hala’s insistence that Beirut can no longer be home. You get a sense that their love will prevail through all, but the depiction of the challenges that they face as a couple is handled with panache. Hala leaves with Tarek after a heated argument with Ziad, but minutes later when she crashes the car on the way out, Ziad is there to welcome her back with a smile and hug . At the climax they share a rare cigarette and at her insistence, he strums the oud, the traditional Arab guitar. The father/son relationship is also evocative; Ziad and Tarek are always playful,  fencing and mock-fighting while discussing profound topics such as Lebanese identity and their future. However, the standout relationship is the one between Tarek and his chum Omar, an explosive yet caring imp. They are mischievous, omni-horny boys-grinning, cigarettes lit, American music blasting, exaggerated, flowery language, grandeur, public announcements, calls out to the prophet, gestural touching of the heart, head-slapping and at the core of it all, a deep mutual affection.

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Omar is portrayed by the irresistible Mohammed Chamas, whom Doueiri found in an orphanage, and he steals the show. Impulsive, foul-mouthed and street-smart, Omar initially resents May due to his fear that she will take Tarek away from him. Eventually though, they become an inseparable trio, with the battlefields of Beirut serving as the background for their compelling friendship.

Cross-cultural influences are felt throughout the movie. From the boys’ choice of phrases (“Finito, Capish?, You drive like Steve McQueen!”) to the music they choose to chill to (George McRae’s “Rock your Baby”), it all conveys Beirut’s cosmopolitan vibe. And yet the city’s soul is Arab, a point Doueiri repeatedly drives home. The magnanimity of Mo’alim Hassan, the smart-aleck humor of a man whose car has just been totaled , the handsy but completely heterosexual mischief between Tarek and Omar, it all serves to help us understand the Arab spirit. It’s a spirit that frustrates and enthralls, that cries and chuckles, and in the case of West Beirut, makes for a mesmerizing movie.

Hit-o-meter

Plot 7 Visual 8 Music 8 Acting 9.5 Direction 9 Entertainment 8.5 ‘Feel’ 10 Overall 9

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Slumdog Millionaire: A Transformative Film- Best Picture Oscar!

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Director: Danny Boyle
Writers: Simon Beaufoy (screenplay) and Vikas Swarup (Q&A- the novel that the movie is based on)

Cast: Dev Patel, Anil Kapoor, Saurabh Shukla, Freida Pinto, Irfan Khan, Mahesh Manjrekar

*Warning: May contain spoilers, although I have attempted to make them cryptic

A caveat: I first saw Slumdog Millionaire five hours after the first terror attacks in Mumbai on the 26th of November. A sense of shock and denial had blanketed me, and the movie managed to transform my mood completely. That’s how powerful and personal it was to me.

Synopsis (courtesy of Fox):

The story of Jamal Malik (Patel), an 18 year-old orphan from the slums of Mumbai, who is about to experience the biggest day of his life. With the whole nation watching, he is just one question away from winning a staggering 20 million rupees on India’s “Who Wants To Be A Millionaire?” But when the show breaks for the night, police arrest him on suspicion of cheating; how could a street kid know so much? Desperate to prove his innocence, Jamal tells the story of his life in the slum where he and his brother grew up, of their adventures together on the road, of vicious encounters with local gangs, and of Latika (Pinto), the girl he loved and lost. Each chapter of his story reveals the key to the answer to one of the game show’s questions. Each chapter of Jamal’s increasingly layered story reveals where he learned the answers to the show’s seemingly impossible quizzes. But one question remains a mystery: what is this young man with no apparent desire for riches really doing on the game show? When the new day dawns and Jamal returns to answer the final question, the Inspector and sixty million viewers are about to find out.

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***

Bombay, to borrow a phrase from Suketu Mehta, is a ‘Maximum City’. It contains in it the entire spectrum of human circumstance, from abject poverty to riches Croesus would envy. It is the most alive city on the planet, bar none. If New York is fast, Bombay is a metropolis on methamphetamines. It is for many an inspiration and a golden songbird; for others a nightmare and a curse. For some, it’s all these aspects existing simultaneously.

Danny Boyle appreciates this multichotomy (word?). He doesn’t shy away from it, instead using it to make his movie irresistible. Below is an excerpt from an interview with him in which he discusses shooting in India.

A director is a controller, you’re a control freak; you bring a crew, look at a bit of life, you stop it in its tracks, and then you recreate it, positioning your technicians around it to capture it, and repeat it endlessly, till you’ve got it just how you want it. You can’t do that in India. It’s uncontrollable. It’s just constantly motion, it’s just constant, and so you just have to go with that. And that means, you’ll end up spending two-thirds of a day and you’ll achieve nothing. But then, at 4 o’clock in the afternoon, it comes back, suddenly this wave comes back, and you’ve got your film, or your bit of it that way. Something is given back to you. Sounds hippie, sounds just like a load of nonsense, but I’d say that’s the way it works.

He gets how Bombay breathes, and the result is a powerful, touching movie that shakes you with impact. This is one of the finest films I’ve seen in a long time; a visual treat, music that thrills, and a highly entertaining blend of despair, triumph and adventure. The flashback scenes that explain how Jamal knows the answers are bloody brilliant. The acting is stellar. In particular the two sets of child artists are excellent. They have some hilarious dialogues (“Plenty of pussy in Bombay maan”), and some gut-wrenching scenes (Latika’s quiet acceptance of her impending rape is difficult to watch). A.R Rahman hits new heights as a composer; the music is stunning and is a major element of the movie’s appeal, yet is good enough to stand alone as an independent record.

I am not a part of the cinema cognoscenti. My technical knowledge of movie making  is limited. This caveat stated, the most impressive feature of this movie for me is the relationship between the cinematography and the music. They are affectionate playmates in a fierce battle for domination, and the result is a surreal sensory experience. The boys are hustling on the train, scheming, selling and stealing. There is pandemonium, urgency. The camera echoes this; fast and blazing, at comes at you from multiple angles and at various speeds. In defiance, MIA’s ‘Paper Planes’ plays on, creating the sensation that the boys could be relaxing on a beach in the Caribbean.  On occasion, the music and visuals play nice; A.R Rahman’s ‘Oh Saya’ rises in volume and tempo as it chases the camera through a rioting Bombay slum. The camera careens through gullys(alleys) and around sewers, but it can never quite escape. One of my favourite scenes in the movie is the climax of the slum chase; the camera steadily zooms out to give us a birds-eye view of the slum while Rahman’s unique voice reaches a crescendo.

If you nitpick, you can find many flaws in this movie, particularly in the plot. But you won’t be bothered to, because the movie has so much to offer. For instance, one scene shows the boys sleeping in a drain pipe to shield themselves from the rain. Out of nowhere, Latika is seen standing in the downpour. She walks up to them when Jamal calls her over and goes to sleep immediately. Why, how, it ends up not being an issue because the scene is so poignantly shot. One is just glad that Latika is dry.

Watch this movie. Slumdog Millionaire completely captures your imagination. It leaves you feeling more hopeful, more impulsive. You feel like causing mischief; you are compelled to climb atop a train, to sing horribly off-key, and to chase the woman of your dreams. You connect so completely with a city that may have never been yours. You understand Jamal’s shit-plunge because you craved that autograph with your entire being. You experience revulsion for Salim, that gangster, that traitor. You feel adoration for Salim, that big brother, that saviour. You accept Latika for who she is; she is perfect for you and that’s all that matters. You are, throughout the duration of the movie and much beyond, the D’Artagnan to its Three Musketeers. You may not know all the answers, but no matter. It is written.

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*Notable Goofs:

1. Unlike as shown in the movie, the real ‘Who Wants to be a Millionaire’ has multiple ‘guaranteed winnings points’, so once you cross certain dollar milestones, they are the minimum amount of money you walk away with. The quizmaster in the movie repeatedly warns Jamal that he stands to lose everything if he gets the answers wrong.

2. Alexander Dumas? C’mon!

Hit-o-meter
Plot 6.5 Visual 9.5 Music 10 Acting 8.5 Direction 8.5 Entertainment 9 ‘Feel’ 10 Overall 8.5

Track Listing:   You can dl the OST here

“O… Saya” performed by A. R. Rahman, M.I.A.
“Riots” by A. R. Rahman
“Mausam & Escape” by A. R. Rahman
“Paper Planes”# performed by M.I.A.
“Paper Planes (DFA Remix)” performed by M.I.A.
“Ringa Ringa” by A. R. Rahman featuring Alka Yagnik, Ila Arun
“Liquid Dance” by A. R. Rahman featuring Palakkad Sriram, Madhumitha
“Latika’s Theme” by A. R. Rahman featuring Suzanne D’Mello
“Aaj Ki Raat”#2 performed by Sonu Nigam, Mahalakshmi Iyer, Alisha Chinai
“Millionaire” by A. R. Rahman featuring Madhumitha
“Gangsta Blues” by A. R. Rahman featuring BlaaZe, Tanvi Shah
“Dreams on Fire” by A. R. Rahman featuring Suzanne D’Mello
“Jai Ho” by A. R. Rahman featuring Sukhwinder Singh, Tanvi Shah, Mahalakshmi Iyer